Sunday, July 30, 2006

Dear Fluteplayers,I was updating my articles on "How to cure stagefright" and I came across a new book by Michael Goode (trumpet performer and stagefright workshop leader from Chicago) that seems to be VERY interesting indeed.In one interview in a Chicago newspaper, Goode stated:

Classical music is losing audiences in part because they’re hearing technically perfect but boring performances. One reason for that is rampant use of drugs that stem performance jitters, primarily the beta-blocker propranolol. Sold under the brand name Inderal, this medication, which lowers heart rate and blood pressure, is intended for patients with cardiac conditions. But over the last 20 years or so it’s become a crutch for classical musicians who use it to get through grueling job auditions and performances. Inderal blocks the adrenaline-fueled fight-or-flight response to stress and, Goode says, also blocks access to the emotional depths necessary for great art. “A conductor of one of the top five orchestras in the world told me 90 percent of the musicians in his orchestra are on betablockers. That’s a problem.” Goode says even Charles Brantigan, a Denver physician and tuba player who did influential early research on Inderal use by musicians, has now backed away from advocating it. Brantigan, however, says he’s an investigator, not an advocate, and his position is unchanged: “On every occasion that this has been studied in a controlled trial the performances have been better on the drugs than off. The idea that it creates a mechanical performance is flat-out wrong.”

Well, that was enough to do it!!! I rejoiced and hurrah'd for Goode, who stated that too many beta-blockers can be detected by an audience as "too perfect", "too boring".What a rebellion against perfectionism! So I rushed to Goode's website to read more about his book:

Stage Fright in Music Performance and Its Relationship to the Unconscious by Michael Goode Book, Trumpetworks Press (August 2003) ISBN: 097439341XOrder "Stagefright" by Michael Goode at Amazon or other stores or at:Goode's Webpage.

But what was even more fabulous on a Sunday, was that I could listen to two radio interviews with Goode online, and the second was even more fabulous than the first.Check out the radio interviews!!

JUST FABULOSO! Really and truly NEW food for thought. At least for me.

Happy listening to new ideas, and of course, I'm very open to comments (below, just hit the comment button.)Best,Jen :>)

I am glad that you are fascinated and interested in my work. Over seven and a half years ago, I suffered from terrible stage fright and realized that as a performer, I needed to either get out of the classical music business or solve my stage fright which I did.

BRAVO to you and all good wishes on your journey.

Sincerely,

Michael GoodeAuthor, Performer and ConsultantStage Fright in Music Performance and Its Relationship to the UnconsciousPrincipal TrumpetChicago Reading Orchestra

Dear Michael,What a thrill to hear from you.Love to talk more.If ever you want to be a guest on my Fluteloops radio show, feel free.Love to chat more about these things.I too had gawd-awful stagefright, and was much helped by the book "The Performer Prepares" by Caldwell.So much so that when performing my first concerto (Mozart Flute and Harp) when the dreaded moment came when complete failure was imminent (the harpist lost her pedals, and there was complete silence for what seemed like forever) I was able to recover faster and better than anyone, including the conductor.So I'd love the opportunity to share stories and ideas with you.Thanks so much for writing.Jen Cluff :>)